In polish art after year 2000 there is a lot more interest in history, especially topics related to World War II, Holocaust , Polish-German and Polis-Jewish relations as well as modern history like PRL times and libertanian impulse . Interest about history in Polish Art is not a new phenomenon. The early postwar art was related to war time trauma. But in art after year 2000 new occurance can be observed: interest in concrete historical facts is less important than questioning about history, about how it is constructed, what is is used for, how it is used, as well as how history is mixed with fiction and how it functions in our vision. This creative idea about construction of historical facts and its use in todays reality can be specify as a dehistoricize (in analogy to term deconstructure) in Izabela Kowalczyk’s opinion (Kowalczyk, 2008). She argue that art of dehistoricize shows up as an alive discourse, which is taking place – paradocsycally – now. As Jacques Derrida indicated, prefix de- may mean an appeal to genesis and not destruction (Magliola, 1984 :89) as is the case of art of dehistoricizing and the process of constructing history itself. „Art of dehistoricizing makes history alive, recalling ghosts of the past“ (Kowalczyk, 2008). The basis of it is what is happenning now (art piece, exhibition) and the result of what happened are historical facts. This act of dehistoricizing art is a contrast to what dominated polish art scene in early nineties. Critical art was focusing on the study of entanglement entity, the experience of corporal punishment, on the problems of another, or the ubiquity of power in Michel Foucault’s understanding (Foucault, 2000). He is inscribing nature of history between freedom and control, whic... ... middle of paper ... ...ybrid, mutant, bound intimately with life and death, with time and eternity, enveloped in a Mobius strip of the collective and the individual,...“ (Nora, 1989:20). So I understand through this, that process of lieux de memoire, the fragments of history are assigned into the postmemory of the author and the viewer. As Ewa Domańska is pointing into individual memory in collective memory of symbols, icons, cultural and historical toposes, which were replicated and preserved in the social conciousness, through it;s constant reproduction in encyclopedias, handbooks, newspapers, films, etc. Exactly through those icons, our society sees past, they are becoming memory markers, and where they are recalled through our memory they straight away relate to solid events (Domańska, 2006). Thus Spiegelman’s father personal memories are no longer personal, they become collective.
The title of this piece, “Remembered Morning,” establishes what the speaker describes in the stanzas that follow as memory; this fact implies many themes that accompany works concerning the past: nostalgia, regret, and romanticism, for instance. The title, therefore, provides a lens through which to view the speaker’s observations.
The strong relationship created between history and memory is one of a vexing nature due to deliberate selection and emphasis. It does however result in a confluence of different representations, that is, personal stories (memory) and public stories (history). Mark Baker’s biography and autobiography ‘The Fiftieth Gate: A Journey Through Memory’, explores his parents’ memories which are both verified and contradicted by Baker’s historical findings, as each asserts their claim through these different theories of representation drawing on such established criteria as evidence, accuracy, authenticity, authority and detail. Steven Spielberg’s horror-psychological thriller film, ‘Schindler’s List’ shows how amongst the abhorrence of the Holocaust, one man can make a difference for the better and leave a legacy of his generosity but it is also a question of what else he did that wasn’t emphasised due to the context of the film. Lastly, the poem ‘The Send-Off’ by Wilfred Owen expresses Owen’s personal feelings towards war which is enunciated through his strong emotive language.
Memories are symbols that are used to demonstrate the progression from the past into the development of one’s current personal identity. We often use our personal memories to investigate our thoughts. Native Guard by Natasha Trethewey and Never Let Me Go by Kazuo Ishiguro are 21st century works that reflect on the use of memoires to enhance personal thoughts to impact perspectives. Perspectives are created and altered by addressing and reflecting on thoughts and feelings towards previous events. In Native Guard, Trethewey uses her memories to develop a perspective on her past and history. In Never Let Me Go, Ishiguro uses Kathy’s memories to develop her actions and decisions. Tretheway and Ishiguro both demonstrate that a memory is a symbol
The past dictates who we are in a current moment, and affects who we might become in the future. Every decision people make in lives has an influence on future, regardless of how minimal or large it is. Some decisions people decide to make can have dire consequences that will follow them for the rest of the life. Moreover, even though if someone would want to leave any memories from past behind, however it will always be by his side. Specific memories will urge emotional responses that bring mind back to the past and person have no choose but to relieve those emotions and memories again. Nonetheless, certain events change people and make them who they are, but at the same time, some wrong choices made past haunts us. This essay will discuss the role of the past in novel Maestro, that was written by Australian author Peter Goldsworthy in 1989 and also in Tan Shaun's story Stick Figures which was included in book called "Tales from outer suburbia" and published in 2008.
...critics eyes as it looks at a piece of work and where the eyes follow. Also that the space and time for the LC system, the function is only a basic framework and the division of visual arts are a medium in fundamental antiquarian. Robert’s defense is Arnaldo Momigliano perspective upon early-modern antiquarian to modern historian which is most historian would write in chorological order while antiquaries write in a systematic way. The other perspective is Historian find facts to discover and explanation in multiple ways and an antiquarian examines a research relations connected to the exact subject (The Map of Art History, 32). Overall Robert’s essay was really persuasive to me and it provide enough strong evidence where it convince me to agree with the idea of having art history and disciplines also societies to represents itself through order and classification.
Art is trapped in the cage of society, constantly being judged and interpreted regardless of the artist’s intent. There is no escaping it, however, there are ways to manage and manipulate the cage. Two such examples are Kandinsky 's Little Pleasures, and Marcel Duchamp’s Fountain. Both pieces were very controversial and judged for being so different in their time, but they also had very specific ways of handling the criticism and even used it to their advantage. We will be looking at the motivations for each artwork, what made the art so outrageous, and the public’s reaction to the pieces.
Memory is both a blessing and a curse; it serves as a reminder of everything, and its meaning is based upon interpretation. In Julia Alvarez’s In the Time of the Butterflies Dedé lives through the memory of her family and her past. She tells the stories of her and her sisters lives leading up to their deaths, and reflects upon those memories throughout her daily life. Dedé lives on for her sisters, without her sisters, but all along carrying them with her throughout her life, never moving on. Dedé lives with the shame, sadness, and regret of all that has happened to her sisters, her marriage, and her family. Dedé’s memories serve as a blessing in her eyes, but are a burden
The begging of World War II not only changed countries, economic structures and politics but also had an enormous influence on different sides of life of people and societies. Well-known from the historical experience is the fact that every single of such size as World War always has its resonance on arts, as culture is an inseparable part of people’s lives. Talking of WWII, the response within artistic communities was so strong that artists became a part of the ideological war of the time (Martin). The position of lots of creative people was at the same time very fearful, as they found themselves in occupied countries under the threat of totalitarian regimes and had to immigrate
Everett, Wendy E., Peter Wagstaff, and Catherine Lupton. "Exile of Remembering: Movement and Memory in Chris Marker’s Sans Soleil." Cultures of Exile: Images of Displacement. New York: Berghahn, 2004. Print.
Poland is a country located in Central Europe. The official capitol is Warsaw, and the major language spoken is Polish, including Russian, German, Byelorussian, and Kashubian. Poland has been known for being a strong, diverse country struggling for independence, and still remaining a strong nation standing up for its right and existence. Also known for being a wondrous country with a magnificent land, culture, and history, Poland has rich background and is definitely a country worth learning about.
The Holocaust is one of the most horrific and gruesome events in world history. It took a great toll on millions of lives in one way or another. One person in particular is Vladek Spiegelman, a Holocaust survivor. Maus, by Art Spiegelman, consists of two main narratives. One narrative occurs during World War II in Poland, and the other begins in the late 1970s in New York. In relation to each other these two narratives portray the past and present.Throughout the novel, we often see Art Spiegelman questioning why his father acts the way he does. Although the war is over, the events of the Holocaust continue to influence the life of Vladek. Why do we allow the past to effect the present? Vladek's personality is largely influenced by his Holocaust experience. In Maus I and II, Vladek was stubborn, selfish, and cheap because of his experiences in the Holocaust.
It has been stated that the application of memory functions in fictional works which act as a reflective device of human experience. (Lavenne, et al. 2005: 1). I intend to discuss the role of memory and recollection in Kazuo Ishiguro’s dystopian science-fiction novel Never Let Me Go (2005).
Georges Didi-Huberman is critical of the conventional approaches towards the study of art history. Didi-Huberman takes the view that art history is grounded in the primacy of knowledge, particularly in the vein of Kant, or what he calls a ‘spontaneous philosophy’. While art historians claim to be looking at images across the sweep of time, what they actually do might be described as a sort of forensics process, one in which they analyze, decode and deconstruct works of art in attempt to better understand the artist and purpose or expression. This paper will examine Didi-Huberman’s key claims in his book Confronting Images and apply his methodology to a still life painting by Juan Sánchez Cotán.
Eva Hoffman’s memoir, Lost in Translation, is a timeline of events from her life in Cracow, Poland – Paradise – to her immigration to Vancouver, Canada – Exile – and into her college and literary life – The New World. Eva breaks up her journey into these three sections and gives her personal observations of her assimilation into a new world. The story is based on memory – Eva Hoffman gives us her first-hand perspective through flashbacks with introspective analysis of her life “lost in translation”. It is her memory that permeates through her writing and furthermore through her experiences. As the reader we are presented many examples of Eva’s memory as they appear through her interactions. All of these interactions evoke memory, ultimately through the quest of finding reality equal to that of her life in Poland. The comparison of Eva’s exile can never live up to her Paradise and therefore her memories of her past can never be replaced but instead only can be supplemented.
History and time are considered to be cultural formations since a History cannot be detached from the culture in which it is produced and received. It is through culture that a historical sense is achieved and in fact, each culture experiences History in a different way leading us to the current perception of History as not being one, but many histories depending on the cultural groups involved. Historians have fought throughout the centuries on whether such thing as “objective History” can exist but in the end, even materialist historians will admit that the reality of History is so complicated and contradictory that no single version could possibly represent the truth; consequently different interpretations are inevitable.